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İSTANBUL TECHNICAL UNIVERSITY INSTITUTE of SOCIAL SCIENCES M.A. Thesis by Department : Turkish Music Programme : Turkish Mu

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İSTANBUL TECHNICAL UNIVERSITY INSTITUTE of SOCIAL SCIENCES M.A. Thesis by Department : Turkish Music Programme : Turkish Mu İSTANBUL TECHNICAL UNIVERSITY INSTITUTE OF SOCIAL SCIENCES MUSIC AND IDENTITY IN ATMA TRIBE M.A. Thesis by Süleyman Cabir Çıplak Department : Turkish Music Programme : Turkish Music Thesis Supervisor: Prof. Songül Karahasanoğlu JUNE 2011 İSTANBUL TECHNICAL UNIVERSITY INSTITUTE OF SOCIAL SCIENCES MUSIC AND IDENTITY IN ATMA TRIBE M.A. Thesis by Süleyman Cabir ÇIPLAK 41509103 Date of submission : 06 May 2011 Date of defence examination: 09 June 2011 Supervisor (Chairman) : Prof. Songül KARAHASANOĞLU (ITU) Members of the Examining Committee : Prof. Ş. Şehvar BEŞİROĞLU (ITU) Prof. Dr. Arzu ÖZTÜRKMEN (BÜ) JUNEMAY 2011 2011 İSTANBUL TEKNİK ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ ATMA AŞİRETİ’NDE MÜZİK VE KİMLİK YÜKSEK LİSANS TEZİ Süleyman Cabir ÇIPLAK 41509103 Tezin Enstitüye Verildiği Tarih : 06 Mayıs 2011 Tezin Savunulduğu Tarih : 09 Haziran 2011 Tez Danışmanı : Prof. Songül KARAHASANOĞLU (İTÜ) Diğer Jüri Üyeleri : Prof. Ş. Şehvar BEŞİROĞLU (İTÜ) Prof. Dr. Arzu ÖZTÜRKMEN (BÜ) HAZiiiİRAN 2011 FOREWORD This study is a graduate thesis prepared for and presented to Istanbul Technical University, Institute of Social Sciences, Turkish Music M.A. Program. I would like to express my deep appreciation and thanks for my advisor Prof. Songül Karahasanoğlu due to her altruistic attitudes and support with her knowledge, experience, and scientific background. Additionally, I want to present my respects to Dr. Robert Reigle who encouraged me to conduct a study related to my hometown and my own culture. I want to thank to my family who helped me during the study and I want to thank to Abdurrahman Çıplak who gave me recordings of his fieldwork. Furthermore, I want to thank to Ali Kaya, Ali Haydar Kaya, Ali Şahin, Mehmet Ali Çıplak, Battal Çıplak, Tahsin Çıplak, Mehmet Ali Başıbüyük, Zahide Duman, Rıza Parlak and all people in Northern Atma Tribe who carried customary cultural values to our present day. June 2011 Süleyman Cabir Çıplak Turkish Music i This study is dedicated to my family. ii TABLE OF CONTENTS Page FOREWORD ............................................................................................................... i TABLE OF CONTENTS .......................................................................................... iii ABBREVIATIONS ................................................................................................... vi LIST OF TABLES ................................................................................................... vii LIST OF FIGURES ................................................................................................ viii SUMMARY ................................................................................................................ x ÖZET .......................................................................................................................... xi 1. INTRODUCTION .............................................................................................. 1 1.1 Background and Methodology ..................................................................... 1 1.2 Hypothesis .................................................................................................... 3 2. IDENTITY .......................................................................................................... 4 3. ALEVILIK, ALEVI IDENTITY AND KURDISH-ALEVI IDENTITY ...... 7 3.1 Alevilik ......................................................................................................... 7 3.1.1 “Alevilik” or “Alawite”............................................................................ 7 3.1.2 Alevi, Bektashi, Kizilbash ....................................................................... 7 3.1.3 Kurdish Alevis ....................................................................................... 13 4. ATMA TRIBE .................................................................................................. 17 4.1 Concept of Tribe ........................................................................................ 18 4.1.1 Oymak and Kabile .................................................................................. 18 4.1.2 Aşiret ...................................................................................................... 18 4.2 Literature Review ....................................................................................... 19 4.3 Atma Tribe from Ottoman Archives .......................................................... 30 4.4 Northern Atma Tribe in Malatya................................................................ 31 iii 4.4.1 Location of NAT .................................................................................... 33 4.4.2 Neighbors of Atma, Ethnic and Religious Situation .............................. 33 4.4.3 Social Organization of NAT .................................................................. 36 4.4.4 Case of Qadabela (Güngören) Village of Northern Atma ..................... 38 4.4.5 Today’s Situation in NAT ...................................................................... 41 5. MUSIC IN NORTHERN ATMA TRIBE ...................................................... 51 5.1 Language in Northern Atma Tribe ............................................................. 51 5.2 Wedding Traditions .................................................................................... 53 5.3 Instruments ................................................................................................. 55 5.3.1 Bağlama (or Tambur) ............................................................................. 55 5.3.2 Davul and Zurna ..................................................................................... 66 5.3.3 Blur (or Kaval) ....................................................................................... 68 5.4 Scales and Makams Used in the Music of NAT ........................................ 69 5.4.1 The Concept of ‘Koma’ .......................................................................... 70 5.4.2 Concept of Flavor (Çeşni) ...................................................................... 71 5.5 Music Types and Forms ............................................................................. 73 5.5.1 Religious Music ..................................................................................... 73 5.5.2 Secular Music ......................................................................................... 73 5.6 Samples in the Form of “Kilom” ................................................................ 79 5.6.1 Dangî Conî ............................................................................................. 79 5.6.2 Wedo Wedo ............................................................................................ 82 5.6.3 Gözün Aydın .......................................................................................... 85 5.6.4 Çulîye Heşin ........................................................................................... 87 5.6.5 Kinê ........................................................................................................ 90 5.6.6 Konî Konî ............................................................................................... 92 5.6.7 Wore Raşon ............................................................................................ 94 iv 5.6.8 Bo Nê Awron Bilo Noka ........................................................................ 98 5.6.9 Lowik La Molon Yermiş Bû ................................................................ 101 5.6.10 Yukarı Atma’nın Yüksek Konağı .................................................... 103 5.6.11 Darî Molon Ba Hervisa .................................................................... 106 5.6.12 Qawoxe Darîma ............................................................................... 109 5.6.13 Istanbulê Xallî Dara ......................................................................... 112 5.6.14 Çîyoye Gollê .................................................................................... 114 5.6.15 Omon Xwade Tu İmdot Ka .............................................................. 117 5.7 Common Characteristics of Secular Music of NAT ................................ 119 5.7.1 Rhythmic Patterns ................................................................................ 119 5.7.2 Scales ................................................................................................... 120 5.7.3 Language and Lyrics ............................................................................ 120 5.7.4 Hybrid and Unique Characteristics of Music of NAT ......................... 121 6. CONCLUSION ............................................................................................... 123 REFERENCES ....................................................................................................... 130 REPORTAGES ...................................................................................................... 136 v ABBREVIATIONS CHP : Republican Peoples Party ITU : Istanbul Technical University NAT : Northern Atma Tribe THM : Turkish Folk Music TMSC : Turkish Music State Conservatory TRT : Turkish Radio and Television Association TSM : Classical Turkish Music vi LIST OF TABLES Page Table 4-1 Language and Religion in Atma Tribe Around Turkey ............................. 20 Table 4-2 Geographic Coordinates of Northern Atma ............................................... 33 vii LIST OF FIGURES Page Figure 3-1 A map depicting the Alevi
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